凝視一朵花的生命－初探池坊花道之美感思維

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Title:	凝視一朵花的生命－初探池坊花道之美感思維
Other Titles:	Gazing at the Life of a Flower--A Study on the Thoughts of Beauty in Ikenobo Ikebana
Authors:	賴瑞雅 Lai, Jui-Ya
Contributors:	視覺與媒體藝術學系尤惠貞 Hui-Zhen You
Keywords:	立花;池坊;插花藝術;花道;日本文化 rikka;ikenobo;Japanese culture;the art of ikebana;kadou
Date:	2013
Issue Date:	2014-11-24 14:23:30 (UTC+8)
Abstract:	台灣自1970年代後經濟起飛帶動生活品質日漸優渥，追逐時尚喜愛插花和從事插花教學的人口也日益增多，「花」也不知不覺融入日常生活之中。不論民間宗教祭拜神明的儀式或婚喪禮俗，乃至一般的生活裝飾、怡情養性的休閒娛樂皆有花藝的呈現，做為追逐時尚生活的表徵。台灣日式插花始於日據時代，上流社會以此文化交流聯誼，國民政府撤台後，則由早年留日返台者或少數台日通婚的日籍夫人教授插花，上流社會婦女插花因此蔚為風尚，其中以教授及研習池坊花道（Ikenobo Ikebana）者最多，歷程亦最久，日本「花道」為中文稱呼，日文漢字書寫為「華道」（kadou），又稱「生花」（ikebana），「華」字為花的古字，兩者音相通，皆有花開之義，「道」是行走的路，也引申有方向、方法、技能、思想、知覺、真實生命之義，為人內心深處所建立通向理想的途徑，「花道」是透過學習插花技能，發展自覺的意志力量，以尋求或傳達內在精神思想，進而追求瞬間美感的藝術。而台灣學習池坊花道及喜愛池坊插花藝術的花友，礙於與日本語言與文化上之隔閡，對日本池坊花道藝術之涉獵大部份停留於雪泥鴻爪之片段，對於花形、樣式之插作行為，往往只知其然不知其所以然，而淪為純技術性的形式操作；然，日本池坊花道在外顯的形式樣貌中，乃蘊含深刻的生命哲學，從初期先民的依代信仰到佛教供花傳入，對日本傳統文化影響頗深，面對無常的生命、與「幽玄」、「空寂」、「閑寂」的美感思維與我們所習慣的審美經驗與思維模式相去甚遠，若未充分理解其獨特的審美意識，便有如隔紗看花，未能一窺其堂奧之美，實有遺珠之憾。　　惟插花行為以非主流形式依附於文化生活的脈絡發展，受限於生活條件優渥與否影響，使得插花人口侷限於少數之數，目前台灣以「插花藝術」所發表的學術論文或研究，在大中華文化背景薰陶下，多半著墨於「中華插花藝術」研究，面對多元社會文化的發展型態，「日本花道」這塊曾經風及一時又再度黯然的園地，則有待積極開創發掘，為研究瞭解日本池坊花道之生命美學，本文將從三個面向予以探討，第一：從日本歷史文化層面著手，探討依代信仰及佛教東傳對池坊花道歷史淵源的演繹發展，其次探討日本佛教天台本覺思想對池坊花道精神內涵的影響，第三：從美學面向著手，探討池坊花道的生命美感與哲學思維。　　Since 1970s in Taiwan, economy has been growing and people have become richer and richer, so there are more and more people devoted to the teaching of flower arrangement. Who love flower arrangement and follow this trend get more. Flowers become a part of life, such as in offering to gods or ancestors, decorating in funerals, wedding, people’s normal life, or even people’s leisure life. “Flower Arrangement” written as “Kadou” in Japanese, called as “Ikebana,” implies that people convey their thoughts and present the transient sense of beauty by arranging flowers. In Taiwan, Kadou, which became a vital way, for high social class, to communicate with the others in the same social class, begins during Japanese colonial period. After the Nationalist government settled in Taiwan, only few who had ever studied in Japan or Japanese women who married Taiwanese men taught women in high social class to arrange flowers. This becomes a fashion. What they teach and learn most as well as what lasts longest is Ikenobo. However, those who learn and love Ikenobo are not good at Japanese language and culture, so “Ikenobo Ikebana” they learn is fragmented. Not only in flower patterns but styles, they know how to arrange flowers but they don’t know why. Aside from caring about external images, “Ikenobo ikebana” has specific sense of beauty. This sense of beauty contains more profound life philosophy, influenced by both their original belief and Buddhism, which includes the thoughts that are quite different from people’s traditional thoughts in Taiwan, such as “impermanence,” “kongji-empty silence,” leisurely quietness,” and “youxuan.” If we don’t understand the unique sense of beauty hidden in Japanese humanity spirit, we can’t fully know “Ikenobo ikebana.” However, flower arrangement is a pat of our culture in Taiwan, yet not domain in fashion. Until now, influenced by our traditional culture, the studies on the art of ikebana (i. e., the art of flower arrangement) mostly focus on Chinese art of ikebana. In order to understand and promote multi-cultural development in our own society, the study on the life beauty hidden and presented in Japanese Ikenobo Kadou is necessary. For the sake of achieving this goal, three aspects in this study are explored. Firstly, concerning Japanese history and culture, how its original belief and Buddhism influence the formation of Ikenobo Kadou is revealed. Secondly, explore the impact of the idea of Tian tai Japanese Buddhism on the spiritual connotation of Ikenobo Ikebana. Finally, as for aesthetics, the thoughts of beauty and vitality hidden and shown in Ikenobo Kado are explored.
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